Synopsis

“The most magnificent fantasy series since The Lord of the Rings.” —The Oregonian Throughout the worlds, the forces of both heaven and hell are mustering to take part in Lord Asriel’s audacious rebellion. Each player in this epic drama has a role to play--and a sacrifice to make. Witches, angels, spies, assassins, tempters, and pretenders, no one will remain unscathed. Lyra and Will have the most dangerous task of all. They must journey to a gray-lit world where no living soul has ever gone and from which there is no escape. As war rages and Dust drains from the sky, the fate of the living--and the dead--to depend on Lyra and Will.

A New York Times BestsellerA Newsweek Top 100 Book of All TimeAn Entertainment Weekly All-Time Greatest NovelWinner of the Whitbread (now Costa) Book of the Year Award.Winner of the British Book Award (Children's) "Pullman has created the last great fantasy masterpiece of the twentieth century. An astounding achievement." --The Cincinnati Enquirer "Breathtaking adventure . . . a terrific story, eloquently told." --The Boston Globe "War, politics, magic, science, individual lives and cosmic destinies are all here . . . shaped and assembled into a narrative of tremendous pace by a man with a generous, precise intelligence. I am completely enchanted." --The New York Times Book Review "Masterful. . . . This title confirms Pullman's inclusion in the company of C. S. Lewis and Tolkien." --Smithsonian Magazine

Excerpt

THE ENCHANTED SLEEPER

In a valley shaded with rhododendrons, close to the snow line, where a stream milky with meltwater splashed and where doves and linnets flew among the immense pines, lay a cave, half, hidden by the crag above and the stiff heavy leaves that clustered below.

The woods were full of sound: the stream between the rocks, the wind among the needles of the pine branches, the chitter of insects and the cries of small arboreal mammals, as well as the birdsong; and from time to time a stronger gust of wind would make one of the branches of a cedar or a fir move against another and groan like a cello.

It was a place of brilliant sunlight, never undappled. Shafts of lemon-gold brilliance lanced down to the forest floor between bars and pools of brown-green shade; and the light was never still, never constant, because drifting mist would often float among the treetops, filtering all the sunlight to a pearly sheen and brushing every pine cone with moisture that glistened when the mist lifted. Sometimes the wetness in the clouds condensed into tiny drops half mist and half rain, which floated downward rather than fell, making a soft rustling patter among the millions of needles.

There was a narrow path beside the stream, which led from a village-little more than a cluster of herdsmen's dwellings - at the foot of the valley to a half-ruined shrine near the glacier at its head, a place where faded silken flags streamed out in the Perpetual winds from the high mountains, and offerings of barley cakes and dried tea were placed by pious villagers. An odd effect of the light, the ice, and the vapor enveloped the head of the valley in perpetual rainbows.

The cave lay some way above the path. Many years before, a holy man had lived there, meditating and fasting and praying, and the place was venerated for the sake of his memory. It was thirty feet or so deep, with a dry floor: an ideal den for a bear or a wolf, but the only creatures living in it for years had been birds and bats.

But the form that was crouching inside the entrance, his black eyes watching this way and that, his sharp ears pricked, was neither bird nor bat. The sunlight lay heavy and rich on his lustrous golden fur, and his monkey hands turned a pine cone this way and that, snapping off the scales with sharp fingers and scratching out the sweet nuts.

Behind him, just beyond the point where the sunlight reached, Mrs. Coulter was heating some water in a small pan over a naphtha stove. Her daemon uttered a warning murmur and Mrs. Coulter looked up.

Coming along the forest path was a young village girl. Mrs. Coulter knew who she was: Ama had been bringing her food for some days now. Mrs. Coulter had let it be known when she first arrived that she was a holy woman engaged in meditation and prayer, and under a vow never to speak to a man. Ama was the only person whose visits she accepted.

This time, though, the girl wasn't alone. Her father was with her, and while Ama climbed up to the cave, he waited a little way off.

Ama came to the cave entrance and bowed.

"My father sends me with prayers for your goodwill," she said.

"Greetings, child," said Mrs. Coulter.

The girl was carrying a bundle wrapped in faded cotton, which she laid at Mrs. Coulter's feet. Then she held out a little bunch of flowers, a dozen or so anemones bound with a cotton thread, and began to speak in a rapid, nervous voice. Mrs. Coulter understood some of the language of these mountain people, but it would never do to let them know how much. So she smiled and motioned to the girl to close her lips and to watch their two daemons. The golden monkey was holding out his little black hand, and Ama's butterfly daemon was fluttering closer and closer until he settled on a horny forefinger.

The monkey brought him slowly to his ear, and Mrs. Coulter felt a tiny stream of understanding flow into her mind, clarifying the girl's words. The villagers were happy for a holy woman, such as herself, to take refuge in the cave, but it was rumored 'that she had a companion with her who was in some way dangerous and powerful.

It was that which made the villagers afraid. Was this other Steing Mrs. Coulter's master, or her servant? Did she mean harm? Why was she there in the first place? Were they going to stay long? Ama conveyed these questions with a thousand misgivings.

A novel answer occurred to Mrs. Coulter as the daemon's understanding filtered into hers. She could tell the truth. Not all of it, naturally, but some. She felt a little quiver of laughter at the idea, but kept it out of her voice as she explained:

"Yes, there is someone else with me. But there is nothing to be afraid of. She is my daughter, and she is under a spell that made her fall asleep. We have come here to hide from the enchanter who put the spell on her, while I try to cure her and keep her from harm. Come and see her, if you like."

Ama was half-soothed by Mrs. Coulter's soft voice, and half afraid still; and the talk of enchanters and spells added to the awe she felt. But the golden monkey was holding her daemon so gently, and she was curious, besides, so she followed Mrs. Coulter into the cave.

Her father, on the path below, took a step forward, and his crow daemon raised her wings once or twice, but he stayed where he was.

Mrs. Coulter lit a candle, because the light was fading rapidly, and led Ama to the back of the cave. Ama's eyes glittered widely in the gloom, and her hands were moving together in a repetitive gesture of finger on thumb, finger on thumb, to ward off danger by confusing the evil spirits.

"You see?" said Mrs. Coulter. "She can do no harm. There's nothing to be afraid of."

From the Hardcover edition.

Excerpted from The Amber Spyglass: His Dark Materials by Philip Pullman. . Excerpted by permission of Laurel Leaf, a division of Random House LLC. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Philip Pullman

About Philip Pullman

“Stories are the most important thing in the world. Without stories, we wouldn't be human beings at all.”—Philip Pullman

Philip Pullman is the acclaimed author of the His Dark Materials trilogy: The Golden Compass, The Subtle Knife, and The Amber Spyglass. His other books for children and young adults include Count Karlstein and a trilogy of Victorian thrillers featuring Sally Lockhart. The Golden Compass, the first of Pullman's His Dark Materials triology, won the Carnegie Medal and the Guardian Fiction Prize.

ABOUT THE AUTHOR

I started telling stories as soon as I knew what stories were. I was fascinated by them: that something could happen and be connected to another thing, and that someone could put the two things together and show how the first thing caused the second thing, which then caused a third thing. I loved it. I love it still.

I grew up at a time when TV wasn’t as important as it is now. In fact, part of my childhood was spent in Australia at a time when that country didn’t even have TV so a lot of my early experiences with stories came from the radio, which is a wonderful medium. I remember listening to gangster serials, and cowboy serials, and best of all: “Faster than a speeding bullet—more powerful than a locomotive, able to leap tall buildings in a single bound. Is it a bird? Is it a plane? No! It’s SUPERMAN!”

Superman on the radio was exciting enough, but when I first saw a Superman comic, it changed my life. Soon afterward I discovered Batman, too, whom I loved even more. I had to argue with my parents about them, though, because they weren’t “proper” reading. I suppose what persuaded them to let me carry on reading comics was the fact that I was also reading books just as greedily, and that I was good at spelling; so obviously the comics weren’t harming me too much.

My favorite stories for a long time were ghost stories. I used to enjoy frightening myself and my friends with the tales I read, and making up stories about a tree in the woods we used to call the Hanging Tree, creeping past it in the dark and shivering as we looked at the bare, sinister outline against the sky. I still enjoy ghost stories, even though I don’t think I believe in ghosts anymore.

I was sure that I was going to write stories myself when I grew up. It’s important to put it like that: not “I am a writer,” but rather “I write stories.” If you put the emphasis on yourself rather than your work, you’re in danger of thinking that you’re the most important thing. But you’re not. The story is what matters, and you’re only the servant, and your job is to get it out on time and in good order.

The most valuable thing I’ve learned about writing is to keep going, even when it’s not coming easily. You sometimes hear people talk about something called “writer’s block.” Did you ever hear a plumber talk about plumber’s block? Do doctors get doctor’s block? Of course they don’t. They work even when they don’t want to. There are times when writing is very hard, too, when you can’t think what to put next, and when staring at the empty page is miserable toil. Tough. Your job is to sit there and make things up, so do it.

As well as keeping going, there are many other things I’ve learned about this craft, and some of them came to me when I was teaching. What I enjoyed most in that difficult and valuable profession was telling stories, telling folk tales and ghost stories and Greek myths, over and over, until I knew them as well as I knew my own life.

And in doing so, I learned some of the laws of a story. Not rules - rules can be changed. “Smoking Permitted Here” can become “No Smoking” overnight, if people decide smoking is a bad thing. But laws such as the law of gravity can’t be changed: Gravity is there whether we approve of it or not. And so are the laws of a story. A story that is unresolved will not satisfy—that’s a law. If a scene does not advance the story, it will get in the way—that’s another law. You must know exactly where your story begins—that’s a third. And so on.

One strange thing about stories is that you sometimes know how long they’re going to be, even before you’ve begun thinking about them. With His Dark Materials, the trilogy of which the first part is The Golden Compass, I knew from the very start—even before I had a main character in mind, and long before I knew what might happen to her—that this story would be 1,200 pages long. That was the size of it. I knew, too, that I was going to enter a world I hadn’t known before: a world of fantasy. Previously, all of my books had been realistic. When I began writing it, I discovered a kind of freedom and excitement I’d never quite felt before. And that is one of the joys of writing: You constantly encounter new experiences.

I live in Oxford now, and I do my writing in a shed at the bottom of the garden. If the young boy I used to be could have looked ahead in time and seen the man I am today, writing stories in his shed, would he have been pleased? I wonder. Would that child who loved Batman comics and ghost stories approve of the novels I earn my living with now? I hope so. I hope he’s still with me. I’m writing them for him.

PRAISE

THE GOLDEN COMPASS

—Winner of the Carnegie Medal—An American Booksellers Book of the Year (ABBY) Award Winner

“As always, Pullman is a master at combining impeccable characterizations and seamless plotting, maintaining a crackling pace to create scene upon scene of almost unbearable tension. This glittering gem will leave readers of all ages eagerly awaiting the next installment of Lyra’s adventures.”—Starred, Publishers Weekly

THE SUBTLE KNIFE

—An ALA Best Books for Young Adults

“More than fulfilling the promise of The Golden Compass, this second volume starts off at a heart-thumping pace and never slows down. . . . The grandly exuberant storytelling is sure to enthrall.”—Starred, Publishers Weekly

“The intricacy of the plot is staggering. . . . There is no doubt that the work is stunningly ambitious, original, and fascinating.”—Starred, The Horn Book Magazine

“The character development as well as the relentless pace . . . make this a resoundingly successful sequel. . . . It will leave readers desperate for the next installment.”—Starred, Booklist

THE AMBER SPYGLASS

—A New York Public Library Book for the Teen Age

“Pullman has created the last great fantasy masterpiece of the twentieth century.”—The Cincinnati Enquirer

“A literary masterpiece . . . [that] caps the most magnificent fantasy series since The Lord of the Rings and puts Harry Potter to shame. . . . A page-turning story that builds to a powerful finish.”—Oregonian

“Impossible to put down, so firmly and relentlessly does Pullman draw you into his tale. . . . [A] gripping saga pitting the magnetic young Lyra Belacqua and her friend Will Parry against the forces of both Heaven and Hell.”—Pittsburgh Post-Gazette

I WAS A RAT!“Phillip Pullman's tale is fast and clever.”—The New York Times Book Review

COUNT KARLSTEIN“In this deliciously gothic thriller there are enough demon huntsmen, evil guardians, and brooding castles to please even the most desensitized reader.”—Starred, School Library Journal

“A literary masterpiece . . . [that] caps the most magnificent fantasy series since The Lord of the Rings and puts Harry Potter to shame. . . . A page-turning story that builds to a powerful finish.”—Oregonian

“Impossible to put down, so firmly and relentlessly does Pullman draw you into his tale. . . . [A] gripping saga pitting the magnetic young Lyra Belacqua and her friend Will Parry against the forces of both Heaven and Hell.”—Pittsburgh Post-Gazette

Awards

WINNER 2002 ALA Best Books for Young AdultsWINNER 2001 ALA Notable Children's BookNOMINEE 2003 Colorado Blue Spruce Young Adult Book AwardNOMINEE 2004 Colorado Blue Spruce Young Adult Book AwardSUBMITTED Alaska Association of School Librarians Puffin AwardWINNER 2001 New York Public Library Books for the Teen Age

Reader's Guide|Discussion Questions|Suggestions|Teachers Guide

About the Book

The Amber Spyglass brings the intrigue of The Golden Compass and The Subtle Knife to a heart-stopping conclusion, marking the final volume as the most powerful of the trilogy.

Along with the return of Lyra, Will, Mrs. Coulter, Lord Asriel, Dr. Mary Malone, and the armored bear Iorek Byrnison, The Amber Spyglass introduces a host of new characters: the Mulefa, mysterious wheeled creatures with the power to see Dust; Gallivespian Lord Roke, a hand-high spymaster to Lord Asriel; and Metatron, a fierce and mighty angel.

And with rich characters and mounting suspense come startling revelations, too: the painful price Lyra must pay to walk through the land of the dead, the haunting power of Dr. Malone's amber spyglass, and the names of who will live - and who will die - for love. And all the while, war rages in the Kingdom of Heaven - the shocking outcome of this brutal battle will uncover the secret of Dust.

In The Amber Spyglass, Philip Pullman deftly weaves the cliffhangers and mysteries of The Golden Compass and The Subtle Knife into an earth- shattering conclusion - and confirms his fantasy trilogy as an undoubted and enduring classic. The questions, discussion topics, and author information that follow are intended to enhance your group's reading of each of the books in Philip Pullman's His Dark Materials trilogy.

Discussion Guides

1. Dust, Dark Matter, and Sraf are three different names for the same material. How do these names reflect the different worlds they come from? What attitudes and feelings does each society have about this material?

2. Why do you think the subtle knife breaks when Will thinks of his mother? When the knife breaks, do you think Mrs. Coulter is aware of her influence on Will? Are there any connections between Mrs. Coulter and Will's mother?

3. In each book of the His Dark Materials trilogy, a special device (such as the alethiometer, the subtle knife, or the amber spyglass) is introduced in connection with the pursuit of Dust. What are the different properties of each instrument? How does each instrument reflect the personality of the person that uses it (i.e., Lyra, Will, and Dr. Malone)?

4. When asked to mend the subtle knife, Iorek is hesitant: "Sometimes a tool may have other uses that you don't know. Sometimes in doing what you intend you also do what the knife intends, without knowing." What do you think the knife's intentions are? Based on these intentions, who do you think created the knife and for what purpose?

5. By the end of The Amber Spyglass, what similiarites can you see between Lyra and Mrs. Coulter? How is Lyra's storytelling different from Mrs. Coulter's lying?

6. In The Amber Spyglass, Mrs. Coulter goes through a dramatic transformation as her maternal feelings for Lyra break through to the surface. What is the catalyst for this change?

Suggested Readings

The Prydain Chronicles by Lloyd Alexander

The Sword of Shannara by Terry Brooks

The Left Hand of Darkness and The Earthsea Tetralogy by Ursula K. Le Guin

A Swiftly Tilting Planet and A Wind in the Door by Madeleine L'Engle

The Chronicles of Narnia and The Screwtape Letters by C. S. Lewis

The Giver by Lois Lowry

Paradise Lost by John Milton

Frankenstein by Mary Shelley

The Hobbit by J. R. R. Tolkien

From the Hardcover edition.

Teacher's Guide

NOTE TO TEACHERS

Each of the novels in Philip Pullman’s His Dark Materials trilogy offers an exciting adventure that takes readers, young and old, on a journey through different dimensions to unknown worlds. The electrifying plots and unusual and mysterious characters make these novels excellent choices for reading aloud.

Themes of good vs. evil, betrayal, courage, fear, trust, and love raise important questions, offering students a wonderful opportunity to engage in meaningful dialogue. This guide offers questions for discussion and includes activities that connect the language arts, social studies, science, music, and art curriculum.

ABOUT THIS BOOK

Philip Pullman’s intriguing and haunting trilogy sends fantasy lovers on an incredible journey through other worlds where they meet mysterious creatures and a brave and extraordinary 12-year-old girl, Lyra Belacqua, who has the power to seek truth.In The Golden Compass, young Lyra Belacqua journeys to the far North to save her best friend and other kidnapped children from terrible experiments by evil scientists.

The Subtle Knife takes Lyra to Cittagàzze, where she meets Will Parry, a fugitive boy from our own universe who becomes her ally and friend. On their journey from world to world, Lyra and Will’s lives become forever intertwined as they uncover a deadly secret.

And finally, in The Amber Spyglass, Lyra and Will, with the help of two tiny Gallivespian spies and Iorek Byrnison, the armored bear, set out to a world where no other living soul has ever gone, to make their most haunting discovery yet.

ABOUT THIS AUTHOR

Philip Pullman is the highly acclaimed and popular author of novels–from contemporary fiction to Victorian thrillers–plays, and picture books for readers of all ages. He received his degree in English from Oxford University and has taught middle school English for many years. The Golden Compass, the first of Pullman’s His Dark Materials trilogy, won the Carnegie Medal and the Guardian Fiction Prize, and is considered one of the best juvenile fantasy novels of the past 20 years. The Amber Spyglass, the trilogy’s astonishing finale, was the first children’s book in history to win the Whitbread Book of the Year Award. It was also nominated for the Booker Prize. Mr. Pullman lives with his family in England.

TEACHING IDEAS

PRE-READING ACTIVITY

Religion plays an important part in many works of fantasy, which often include themes of good versus evil and characters searching to understand the basic foundations of their faiths. Ask students to use the Bible, a storybook, or an encyclopedia to read about the Garden of Eden and the fall of Adam and Eve (Genesis 2, 3). Have students discuss original sin, why God forbade Adam and Eve to eat from the Tree of Knowledge, and how Adam and Eve’s lives changed once they gained knowledge.

THEMATIC CONNECTIONS

Betrayal–Ask the class to look up the various meanings of the word betrayal. How does Lyra betray Roger in The Golden Compass? Discuss whether she was aware that she was betraying him. How does she try to rectify this betrayal? What is Lyra’s great betrayal in The Amber Spyglass? How do Lyra’s mother and father betray her–and then protect her? Discuss how Lyra deals with these betrayals.

Good vs. Evil–The trilogy challenges our assumptions about good and evil: some witches are good, while some members of the church are evil. What are other examples of unexpected forms of good and evil in the trilogy? At the end of The Amber Spyglass, what do Will and Lyra learn about good and evil, about actions versus labels? How will this affect the way they will live the rest of their lives?

Courage–Have students trace Lyra’s courage as she travels from one dimension to another. At what point does she almost lose her courage? How does Will show courage in The Subtle Knife? Discuss how Lyra and Will help one another sustain their courage throughout their quests in The Subtle Knife and The Amber Spyglass. Engage the class in a discussion about whether having possession of the alethiometer and the subtle knife either gives Lyra and Will courage or threatens it. How does it take courage to leave one another and return to their own worlds at the end of the trilogy?

Fear–At the end of The Golden Compass, Lyra is afraid of her father, yet admires him. Why does he evoke fear in her? How can she be afraid and admire him at the same time? How is fear the basis of Will’s mother’s illness? Discuss how fear is related to courage. Engage the class in a discussion about how Lyra and Will’s fears contribute to their courage as they face the evil forces.

Trust–In The Subtle Knife, Will accidentally kills an intruder who wants his father’s personal documents and then labels himself a murderer. Why does this enable Lyra to trust him? Which characters do Serafina Pekkala and Lee Scoresby decide to trust? Is their trust warranted? Who are the characters that Lyra once trusted, but in the end finds that she cannot? In what other way does trust play an important role in Pullman’s His Dark Materials trilogy?

Love–In The Amber Spyglass, Will says to Serafina, “Thank you, Serafina Pekkala, for rescuing us at the belvedere and for everything else. Please be kind to Lyra for as long as she lives. I love her more than anyone has ever been loved.” (p. 509) Trace the development of Will and Lyra’s love for one another from the time they first meet in The Subtle Knife until they part in The Amber Spyglass. How does their love affect the fate of the living–and the dead? How does Lyra’s adventure help her to discover a new meaning of love?

CONNECTING TO THE CURRICULUM

Language Arts–The Golden Compass has been described as a heroic novel. Ask students to identify the qualities of a hero. Who are the heroes in Pullman’s His Dark Materials trilogy? Have students select a hero from one of the novels and write a poem about that hero. Encourage students to share their poems in class.

It is quite common for writers of fantasy to create their own vocabularies. Vocabulary, including the names of characters, is often symbolic of the underlying themes and messages of the story. Make a glossary for Pullman’s His Dark Materials trilogy that represents the unique vocabulary he created.

Social Studies–At the end of The Amber Spyglass, Will and Mary return to their world and Will accompanies Mary to her flat. Mary explains to Serafina that she can’t just give Will a permanent home because in her world you must follow rules and regulations regarding keeping children. Find out today’s rules regarding foster care. What is the purpose of foster care? Discuss whether Will would qualify for foster care. Would Mary qualify as a foster mother?

Art–Masks have been used through the ages to represent animals, monsters, supernatural spirits, dream creatures, etc. Ask students to think about which animal would most likely be their dæmon and create a mask to represent that animal. Allow students time to share their masks and to explain why they chose that particular animal as their dæmon.

Science/Health–Mary says that Will’s mother sounds like a “classic manic-depressive.” Ask students to research the symptoms and characteristics of manic-depression or bipolar disorder. How is it different from other types of depression? From anxiety? Research the treatments for various types of depression. What type of treatment is Will’s mother likely to need?

Science–In Pullman’s His Dark Materials trilogy, Lyra has the alethiometer, Will has the knife, and Dr. Malone has the spyglass to aid them in their quests. Though these items are fictitious, scientists have always used tools and instruments to conduct investigations. Have students research the type of instruments used through the ages and construct a time line that reveals their development. What instruments do scientists use today?

Music–Music plays an important role in modern fantasy and science fiction films. Play music from films such as Star Wars and ask students to analyze the music as it applies to plot development. How is music an important link in communicating story? Divide students into three groups and assign each a novel in the trilogy. Instruct them to locate music that would be appropriate for a film of their assigned novel. Allow time to share the selections.

The Golden Compass --The author tells us that The Golden Compass takes place “in a universe like ours, but different in many ways.” How do you think Lyra’s universe relates to ours?

--Why do you think Lyra is described as an unimaginative child? Why would imagination be dangerous to her? How would it affect her understanding of the alethiometer?

--What do you think is the author’s purpose in inventing– and exploring–the world of the armored bear?

--Are Lord Asriel and Mrs. Coulter in collusion or are they fighting each other? How and in what way?

The Subtle Knife --How has Will learned to make himself unnoticed by others? Relate this to the witches’ ability to make themselves invisible.

--How are the Shadows that communicate with Lyra through the computer related to Dark Matter (Dust)? If Lyra can understand the Shadows as she understands the alethiometer, is the computer also acting as a truth-giving device? What is the real origin of the Shadows’ messages?

--Giacomo Paradisi tells Will the rules for bearing the subtle knife. (p. 188) Why do you think Will must “never open without closing”? What did Paradisi mean by a “base purpose”? Compare these formal guidelines to the instinctive rules Lyra obeys when using the alethiometer.

--In what way can a knife that divides pathways between worlds–and can sever bone, rock, and steel–be called “subtle”?

The Amber Spyglass --Dust, Dark Matter, and Sraf are three different names for the same material. How do these names reflect the different worlds they come from? What kinds of attitudes and feelings does each society have about this material?

--Discuss whether Mrs. Coulter is aware that her influence on Will is capable of breaking the knife. What are the connections between Mrs. Coulter and Will’s mother?

--Mrs. Coulter goes through a dramatic transformation as her maternal feelings for Lyra break through to the surface. What do you think is the catalyst for this change?

--Discuss the significance of human dæmons taking an animal form. Do you think a Mulefa dæmon would take an animal or human form? What does this mean about the nature of dæmons?

--By the end of the novel, what similarities can you see between Lyra and Mrs. Coulter? How is Lyra’s storytelling different from Mrs. Coulter’s lying?

COPYRIGHT

Prepared by Pat Scales, Director of Library Services, the South Carolina Governor’s School for Arts and Humanities, Greenville, SC.